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Terry Dwyer who plays the only female member of the cast, Sheila Wendice Dial M For Murder
Grand Theatre, Wolverhampton
AS
murder mysteries go, Frederick Knott’s 1952
stylish play rates pretty well against the more well-known offerings of
a certain Miss Christie.
Hitchcock
certainly saw its potential. His classic Hollywood adaptation
ensured there would be box office life in subsequent stage versions and
nearly 70 years on, the appeal continues. As an example of its
genre, it simply works and does exactly what it says on the tin.
Sometimes, if it ain’t broke, there’s no need to fix it.
Like most plays of this type, the plot is somewhat contrived and wouldn't stand up to close scrutiny. But that’s fine. It’s not alone there. For it to engage an audience, it has to present a series of plot twists that offer possibilities as to ‘whodunit?’ … or, in this case, ‘who will get the blame for it?’ Knott
knows exactly what works. The exposition is cleverly layered and
never gives away too much, too soon. He also resists the
temptation to be over complex Talking
Scarlet’s effective adaptation stays loyal to the period and avoids any
urge to modernise the feel of the work. It may come across as
melodrama but in the early 1950s, before the onset of kitchen sink
drama, this was how dialogue was presented. It has to be played
straight for it to work and that is certainly recognised here.
What
matters most, of course, is the plot. It needs to be clever enough
not to give too much away but also clear enough to keep the audience
interested. We need to engage with characters and even care for
them if needs be. Good writing sets this up but performances have
to complete the picture for the piece to come properly alive.
Oliver
Mellor is controlled and nicely measured as the plotting ex-tennis pro,
Tony Wendice. Whilst there are more holes than a dartboard in
Wendice’s dastardly plan, Mellor plays the dialogue with impressive
conviction and never drops energy throughout some pretty lengthy
speeches.
A strong
ensemble cast keep the tension going and all add clever touches to
characters that could easily become stereotypical in different hands.
Time
passages are achieved using ‘filmic’ music that gives a clear nod to
Hitchcock. With the right music, suspense is significantly
heightened. Director, Patric Kearns, clearly recognises that here.
This is a
strong and engaging version of a classic piece of work. If you liked the
film, you will like this. If you haven't seen it, take the
opportunity now. Runs until 30th April.
Tom Roberts 26-04-16
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